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Transferring data

From: Shooting and Processing Panoramas

Video: Transferring data

Once the cards get full, you need to go ahead and get them into the computer. Now, maybe it's still in the camera, so pop it out. Or take it out of your card wallet, in any case. I recommend that you go ahead and connect it to a fast card reader. I prefer USB 3 these days, but you will find Thunderbolt readers on occasion, or maybe you have an older system, and take advantage of FireWire 800. In any case, get the fastest card reader you can find. Using the built-in slot on the laptop, is often a lot slower. The same holds true for desktop computers.

Transferring data

Once the cards get full, you need to go ahead and get them into the computer. Now, maybe it's still in the camera, so pop it out. Or take it out of your card wallet, in any case. I recommend that you go ahead and connect it to a fast card reader. I prefer USB 3 these days, but you will find Thunderbolt readers on occasion, or maybe you have an older system, and take advantage of FireWire 800. In any case, get the fastest card reader you can find. Using the built-in slot on the laptop, is often a lot slower. The same holds true for desktop computers.

I find that the highest quality ones, that are usually external readers, are significantly faster. Carefully take the card and mount it, making sure that you line it up in the slot, and push it in. At this point, the card will become mounted. There's my card, and you see that I've got a DCIM folder and inside of that, a camera specific folder. Now many people just grab the individual images, but I'm a bigger fan of taking it all the way at the DCIM level.

You can select the entire folder and choose Edit Copy or a right click would do the same. Select the target, and choose to Paste. And the same behavior is available on a PC. I recommend that you copy the entire folder. Because sometimes there's extra things in there, like metadata. Or maybe you had video files. It's never a bad idea to go all the way to the top level. Typically, after I paste that in, I'll rename it with some details about the shoot, giving the folder a unique name, as well as some date information about when it was acquired.

This is an easy way to copy and paste data, but it's not necessarily a verified copy, so you might choose to use a third-party utility to ensure that every bit of data is successfully transferred. For example, with a tool like Carbon Copy Cloner, you would select the card, and its contents, and then choose a destination. I can actually get in here and be very specific, and Choose an Exact folder, Make a folder, make a Sub folder by the card, and then Target it.

When ready, I can click Clone and this will make a complete clone. The warning here is because the dialog detects that this card is not a typical format for a Mac hard drive, but that's okay. Clicking Continue and then Authorizing it, will initiate the complete transfer. And notice, it actually tells you the accurate time. Shows you the amount of data that's been transferred and will perform a verified copy. This gives you greater confidence that the data that was on the card has a bit for bit match on the drive itself.

You'll find utilities like this for both Mac and Windows. Notice the copy has been completed. I can click OK. And it verified that the copy was successful. Sometimes if you just drag and drop or copy and paste a card, you don't actually know that the file data has been verified. If you want the safest transfer, use a utility like this. Or the photo downloader that comes with Bridge or even Lightroom. But I'm a big fan of getting everything transferred to my hard drive. And let's take a minute to talk about what type of hard drive you should be using.

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This video is part of

Image for Shooting and Processing Panoramas
Shooting and Processing Panoramas

68 video lessons · 6326 viewers

Richard Harrington
Author

 
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  1. 1m 40s
    1. Welcome
      36s
    2. What you should know before watching this course
      35s
    3. Using the exercise files
      29s
  2. 2m 25s
    1. The end product
      1m 20s
    2. The objectives
      1m 5s
  3. 6m 25s
    1. Determining a target delivery size
      1m 5s
    2. What is field of view?
      1m 49s
    3. What is the nodal point?
      2m 33s
    4. Postprocessing choices for panoramic photography
      58s
  4. 8m 48s
    1. A solid tripod for panoramic photography
      1m 22s
    2. Choosing a tripod head
      2m 52s
    3. Lens choices for panoramic photography
      2m 15s
    4. Compensating for the nodal point
      2m 19s
  5. 4m 59s
    1. Shooting source images in JPEG format
      1m 49s
    2. Shooting source images in RAW format
      1m 21s
    3. Stitching in camera
      1m 49s
  6. 14m 21s
    1. Leveling the camera platform
      2m 17s
    2. Cleaning the lens
      3m 28s
    3. Locking exposure and focus
      1m 58s
    4. Shooting with overlap
      1m 50s
    5. Minimizing camera shake
      1m 43s
    6. A refresher on the exposure triangle
      3m 5s
  7. 8m 50s
    1. What is GigaPan?
      1m 46s
    2. Building the GigaPan platform
      2m 39s
    3. Framing and recording the shot with the GigaPan system
      4m 25s
  8. 5m 20s
    1. Why shoot an HDR panorama?
      1m 23s
    2. Setting up for the shot
      2m 27s
    3. Shooting the source images
      1m 30s
  9. 11m 49s
    1. Shooting a 360-degree panorama
      4m 20s
    2. Shooting handheld
      2m 6s
    3. Shooting panoramas using an iPhone
      1m 11s
    4. Using Photosynth for panoramic photography
      2m 59s
    5. Using 360 Panorama from Occipital for panoramic photography
      1m 13s
  10. 5m 48s
    1. Using a card wallet
      1m 8s
    2. Transferring data
      3m 22s
    3. Choosing a working drive
      1m 18s
  11. 8m 40s
    1. Using stacks in Adobe Bridge
      3m 35s
    2. Renaming and renumbering image sequences
      5m 5s
  12. 31m 30s
    1. Basic exposure with Camera Raw
      7m 10s
    2. Advanced recovery with Camera Raw
      7m 26s
    3. Reducing noise with Camera Raw
      3m 24s
    4. Removing dust with Camera Raw
      7m 2s
    5. Choosing a bit depth
      2m 21s
    6. Compensating for lens distortion
      4m 7s
  13. 1h 18m
    1. Initiating the Photomerge command from Bridge
      1m 29s
    2. Initiating the Photomerge command from Photoshop
      1m 47s
    3. Initiating the Photomerge command from Lightroom
      4m 16s
    4. Choosing an alignment method
      4m 37s
    5. Compensating for lens distortion
      7m 19s
    6. Blending the photos
      2m 51s
    7. Post-merge cleanup
      5m 44s
    8. Using the Adaptive Wide Angle filter to remove distortion
      4m 4s
    9. Merging the 360-degree panoramic photo
      10m 16s
    10. Merging the HDR panoramic photo
      13m 44s
    11. Merging the GigaPan panoramic photo
      5m 39s
    12. Using Photoshop filters to enhance panoramas
      3m 18s
    13. Using third-party filters to enhance panoramas
      9m 36s
    14. Additional third-party filters to enhance panoramas
      3m 49s
  14. 13m 36s
    1. Using the Photo Filter adjustment layer
      2m 5s
    2. Refining shadows and highlights
      4m 8s
    3. Improving contrast in panoramic photos
      2m 29s
    4. Adjusting vibrance in panoramic photos
      1m 26s
    5. Converting panoramas to black and white
      3m 28s
  15. 24m 40s
    1. Should you flatten a panorama?
      2m 47s
    2. Cropping a panoramic photo to a target size and resolution
      5m 23s
    3. Saving panoramas for printing
      3m 37s
    4. Saving panoramas for the web
      12m 53s
  16. 58s
    1. Goodbye
      58s

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